Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.

A serendipitous meeting during a tube journey in 1988 changed forever the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."

While Enninful may seem sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This change is hard to ignore: the growth of nationalist groups, the pushback against progressive values, and the reassertion of traditional beauty standards. In place of the optimism of the Blair era, today a more divisive political figure looms as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has sparked debate once more.

In Enninful's view, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of prominent faces from literature.

"Those in a position of influence should use it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I hope this period will end."

A New Wave of Consciousness

He finds hope in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I was not even aware what that was."

Those early experiences would shape a pioneering career marked by boldness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Significantly, sales rose.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being between worlds."

In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His life has not been immune to adversity, including well-documented struggles with depression and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a dark place for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him away from the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time.

"Institutions didn't always celebrate the right artists because they weren't of the right pedigree," he comments.

This venture itself uses a different approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most respected creative power brokers. His story, he feels, is a testament to the power of pursuing your passions.

What would the younger Edward think of the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."